SOUNDWAVE – Page 19

SOUNDWAVE : 5 : VINCE MILLETT

I’m writing the show notes you’re reading from my backyard. Vince Millett’s mix, today’s guest deejay, plays in the background. The sun is out, the sky is blue, birds are chirping and my dog is smelling a flower. It is an idyllic day. Except that it’s week seven of California’s safe at home. COVID-19 has completely disrupted civilization and we’ll feel the aftershocks for years, if not decades, to come. So, yeah except for that, I’m having a fantastic day.

Today’s mix, by the way, is spectacular.

Opening the show to guest deejays has been a great idea because it’s really exposed me to so many musicians I’ve never heard before. I was counting on Vince to turn me on to some great stuff and his mix does not disappoint. It is exactly why he was one of the first people I asked to guest deejay on SOUNDWAVE.

I met Vince eight years ago on Twitter. I was impressed with his netlabel, Broken Drum Records, and his podcast, Secret Archives of the Vatican, and invited him to be a guest deejay for solipsistic NATION, my electronic music podcast. You’ll want to listen to that episode as soon as you’re done with today’s show. Vince’s taste in music leans towards the Asian and Middle Eastern and that is reflected in today’s mix. Each song is a gem. Dhafer Youssef’s “Dawn Prayer,” for example, is gut wrenchingly beautiful

Vince will talk about his musical selections below but before I go, I want to thank everyone who has sent the mixes you will hear in the upcoming months.

In just a few short weeks I’ve received a lot of mixes for SOUNDWAVE from some amazing guest deejays. It’s humbling how everyone were so quick to respond to my requests and their generosity of their time.

Last week’s show featured a gorgeous mix by Steven Howard. Next week’s guest deejay is James Curcio and his mix was inspired by the three years he spent writing and researching for his book, MASKS: Bowie & Artists of Artifice, and is a meditation on mortality, futility, transience, being lost in the simulacra and isolation during the coronavirus.

See you then.

We open with “Kemancheh” by Moving Ninja. Some years back when I was first discovering dubstep, the folk music of my hometown Croydon, I was surprised to find tracks like this that were far away from the dancefloor and had some middle eastern influences. Genre labels can be so limiting and misleading.

We then move into one of my own, “Outremer” by Thousand Yard Prayer. This is built upon a simple Viola Da Gamba line playing an Arabian musical scale with some medieval frame drums, a Persian ney flute and some subtle Croydon post-dubstep bass wobble adding to the low end.

Tunisian born oud player and vocalist Dhafer Youssef then leads us into the exquisite “Dawn Prayer.” His music gets marketed as jazz but I’m not convinced. It is unique. Listen to that voice!

Next we head towards the world of film soundtracks with “Eastern Path” by Vangelis from the film Alexander. The duduk is one of the most expressive and melancholy instruments on the planet.

We continue to head east with “Battle Remembered” by Yo Yo Ma and the Silk Road Ensemble. I’m not a huge fan of western classical music but I love to hear musicians from that world working with highly skilled musicians from other traditions.

Bassist Jonas Hellborg recorded “Suriya” live in Aleppo in 1996. The whole album, Aram of the Two Rivers, is beautiful and is another example of superb musicians from disparate traditions creating something transcendent.

I finish this mix with my favourite piece of medieval music, “Palästinalied,” here played by Kalenda Maya from their album Pilegrimreiser. I have a Spotify playlist with 42 versions of this tune, all sounding different. This is a particularly chilled rendition.

Moving Ninja “Kemancheh”
Thousand Yard Prayer “Outremer”
Dhafer Youssef “Dawn Prayer”
Vangelis “Eastern Path”
Yo-Yo Ma & The Silk Road Ensemble “Battle Remembered”
Jonas Hellborg “Suriya”
Kalenda Maya “Palästinalied”

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SOUNDWAVE : 4 : STEVEN HOWARD

I’ve expanded the scope of SOUNDWAVE by inviting musicians, deejays, podcasters, etc to contribute mixes to the show. I’ve been overwhelmed with their generosity and support.

Last Sunday’s show featured our first guest deejay, Sean Horton, who provided a gorgeous mix of music. All week long people have shared with me how much it meant to them. On today’s show we’ll hear another mix of music no less beautiful than Sean’s, this time from my old and dear friend, Steven Howard.

I met Steven last century one day while I was wrapping up my show at WMFO. He was their be trained by one of our staff but for whatever reasons that deejay failed to show up. I gave Steven a 15 minute crash course on how to operate our board, wished him well, and ran off to work.

Steven and I became fast friends and he introduced me to so much music. Over the decades I’ve watched Steven meet the girlfriend he would later marry, become a proud father of two boys, move from Boston to Asheville and help launch two radio stations. You can catch his show, Mental Notes, on AshevilleFM.

Steven was one of the first people I asked to participate in SOUNDWAVE. You will, of course, love his mix but what I think you will really enjoy is the field recordings he weaved into the music. It’s a reminder of the world that’s out there waiting for us when it’s safer to leave our homes.

Before I let Steven talk about today’s show I implore you to purchase any of the songs you hear on today’s mix or any mix you hear on SOUNDWAVE. The artists are pouring their hearts into each track. Your purchases of songs or albums not only helps them continue working on their craft but also puts food on their tables or pays for the roof over their heads.

See you next Sunday when our guest deejay is Vince Millett, the founder of Broken Drum Records and the host of the Secret Archives of the Vatican podcast.

It’s kind of silly to say this here:

I knew I had some field recordings on my phone. My intention was always to use them somehow. As I started going through files of artists in my digital library, I dropped tracks into a folder for your project. It was easy to pick the tracks I wanted. I only picked 9 between A-O in my experimental section of my digital library. I then sequenced those into an order roughly resembling a fantasy walk in nature.

Often when I would drive to work in South Boston at 4 am, I’d listen to ambient music like Aphex Twin’s Selected Ambient Works Vol II. I always loved how the city looked with the backdrop of dark ambient playing. When I moved to Western North Carolina I would take drives into the mountains or onto the parkway sometimes alone. Ambient worked well there, too.

Being in many different time slots on the radio has moved me further away from experimental sounds over the past handful of years. I have always felt that way about experimental radio. Sometimes I’ve felt like I’ve made all the segues I needed to make. Then you come along and ask me to do a short 30 minute project. I realize if I’m to make a piece, it has to include some original work.

In the layering of these pieces as I sequenced them, I imagined walking in some unknown place, as if superimposed on a green screen and looking down a crater at pulsing orb embedded in a forest. While it looked ominous there was no danger. I passed along wind whipped water of a mountain lake and looked up and saw the late morning sky and heard a plane’s echo of the mountainside. Behind some five miles back, that orb has flown off. I hear it and look.

My heart is exhilarated. I feel good. I’m nearer my goal with the others at camp. The stars are coming up and it’s been a long day. It’s time to feed.

Steven Howard “Field Recording: crows in trees before sunrise (Three Lakes, Wisconsin – July 7, 2019)”
Oren Ambarchi “This Evening So Soon”
Biosphere “Antennaria”
Annea Lockwood “floating world: Part 1”
BJ Nilsen “Black Light”
Sylvain Chauveau “A”
Colleen “Your Heart Is So Loud”
Pauline Oliveros & Miya Masaoka “Twilight – Bashou (Tolling Of A Bell)”
Geir Jenssen “Cho Oyu Basecamp – Morning”
Steven Howard “Field Recording: katydids from our backyard (Asheville, North Carolina – July 19, 2019)”

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SOUNDWAVE : 3 : SEAN HORTON

Let me rehash some stuff with you before we got to today’s excellent show featuring a lustrous mix from Sean Horton.

I launched SOUNDWAVE because it was my way of coping with COVID-19. My wife is away for the next month with her unit and our kids our with their dad for the foreseeable future. It’s just me and my dog. Work keeps me busy during the day but at night it gets lonely. I found myself listening to a lot of ambient, classical, experimental and instrumental music and I decided to share it with my friends and created the show you’re listening to now.

My intention was to release a new show once a month. After the first show I decided I would release SOUNDWAVE weekly until the stay at home order ends. But then it occurred to me that pretty much everyone else on the planet is also stuck at home so I invited friends, deejays, musicians, producers, etc to participate on the show. And that brings us to our first guest deejay, Sean Horton.

I interviewed Sean Horton for solipsistic NATION to talk about Decibel Festival, an annual music and digital arts festival in Seattle that ran from 2004 to 2015. Decibel Festival was unique platform for exposing attendees to leading-edge multimedia art from around the globe. With a focus on live performance, interactive multimedia art, state-of-the-art sound and technology based education; Decibel solidified itself as one of the premier electronic music festivals and promotional organizations in the world. In 2014, Sean was named #43 on Rolling Stone’s “50 Most Important People in EDM.”

Sean also records under them name Nordic Soul where he distills his love for techno, house, hip hop, jazz, soul, industrial, ambient and dub. As Nordic Soul, Sean has shared the stage with an eclectic mix of musicians from Grimes to Moby to The Orb to Major Lazer to… well, the list goes on. Sean has also performed at several major festivals world-wide, including Dimensions (Croatia), MUTEK (Montreal) and Communikey (Boulder). Nordic Soul has released music on a wide variety of labels including K Records, Buttermilk Records, Peloton and basic_sounds.

Given all that, you understand Sean was one of the first people I invited to join me and SOUNDWAVE. Funny thing, Sean and I have struck up a friendship online which moved from talking about music to our favorite books, tv shows and movies and then to living under COVID-19. An unexpected and welcome development of the pandemic. I look forward to meeting Sean in Los Angeles after this dies down a bit and hoisting a pint with him. From a safe six feet, of course.

Sean has crafted a beautiful mix, but I expected no less from him. Prepare for an emotional journey and see where it takes you. I’ll let Sean introduce his mix below. I know you’re going to love it just as much as I do.

I’ll see you all next week when we are joined by our next guest deejay, my old and dear friend, Steven Howard.

During this time in isolation I’ve been rediscovering my love of ambient music. I first discovered ambient music working at Harmony House records in Detroit my junior year in high school in 1992. It was the early days of the Rave Movement and Detroit was a hot bed for warehouse parties and Techno Music at the time. This was also a remarkable time where nearly every Rave would have two rooms, a “Dance Room” and an “Ambient Room.” I was an “Ambient Room” individual largely in part because I fell in love the music.

Out of all of the ambient music albums I’ve encountered over the years, the two that I come back to the most are the first and second ambient albums I ever knowingly experienced, Brian Eno’s Apollo: Atmospheres and Soundtracks and Aphex Twin’s Selected Ambient Works Vol. 2. This mix features two of my favorite selections from each album.

Historically ambient music has predominantly been characterized as synthetic, but over the past fifteen years or so there has been growing movement of more organic forms of ambient music and film scores which are often referred to as neo classical (i.e. Nils Frahm, Max Richter, Ólafur Arnalds, Hauschka, Jóhann Jóhannsson , Hildur Guðnadóttir, Stars of the Lid, etc.). Where Ambient music fueled my teen-early 20’s love of electronic music; neo classical music fueled my love of melody and organic tone. I firmly believe that both ambient and neo classical music can and should co-exist.

This particular mix evolved out of a playlist I put together in late March 2020 featuring some of my favorite ambient and neo classical artists and songs. As common with a lot of ambient music, these selections are all void of rhythm and nearly void of all voice. That said, this is an ideal mix for reading, writing, sleeping, meditation, yoga, etc. My hope is this mix will instill a sense of calm and mental clarity with the listener.

Cliff Martinez “Will She Come Back”
John Foxx and Harold Budd “Subtext”
Eluvium “Individuation”
Aphex Twin “#20”
Apparat “44”
Hauschka “Destination Unknown”
bvdub “Your Painted Armor Aches to Crack”
Windy & Carl “Forest Trails”
Tim Hecker “Radiance”
Stars of the Lid “A Meaningful Moment Through a Meaning(less) Process”
David August “MUSES AND ASHES”
Brambles “To Speak of Solitude”
Grouper “Parking Lot”
Ólafur Arnalds & Nils Frahm “20:17”
Jon Hopkins “The Wider Sun”
Jonsi & Alex Somers “Daníell In The Sea”
Ben Lukas Boysen “Sleeper Beat Theme”
Helios “Seeming”
Ólafur Arnalds “Doria”
Robert Fripp & Brian Eno “Wind on Wind”
Brian Eno “An Ending (Ascent)”

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SOUNDWAVE : 2 : JOSEPH ALEO

Last week I said that SOUNDWAVE would be a monthly show. I’ve changed my mind and decided to release the show on a weekly basis for as long as we are told to stay at home to flatten COVID-19’s curve. I’ve also invited friends, podcasters, musicians, deejays and record label owners to contribute mixes to SOUNDWAVE so expect to hear from them shortly.

Okay, today’s show…

We open with a track from Richard Moult’s Celestial King for a Year album. I came across Moult while listening to writer Warren Ellis’s excellent SPEKTRMODULE podcast. A casual Google search didn’t turn up much information but I did learn that Moult warrants an unofficial fan page on Facebook.

From there we segue into “Regnantem sempiterna” by Jan Garbarek and The Hilliard Ensemble. If you’ve been watching Alex Garland’s Devs you’ll recognize it immediately. I’ve been following Garland’s career since he wrote the screenplay for 28 Days Later but Devs is quite possibly the best thing he’s ever done, and he’s accomplished a lot, but he really gets to shine in a long-form tv series. The writing is great, the acting is great, the cinematography is great, etc. and the music department have been selecting absolute gems and “Regnantem sempiterna” gave me the chills and is the emotional cornerstone for this week’s show.

The next track is from the soundtrack from the horror film Hagazussa by MMMD. I’m not going to spoil the movie but I will say this, if you’re listening to “Hagazussa” over your speakers, and you really should to experience it fully, prepare for your windows to rattle and for plates and glasses to vibrate off your kitchen table.

Our penultimate track is Colin Stetson’s “Sorrow: II – Lento Largo—Tranquillissimo” from his SORROW – a reimagining of Górecki’s 3rd Symphony album. I’ve been listening to Henryk Górecki’s Symphony No. 3 for a couple decades now and it never fails to rend my heart. I’ve also been a fan of Colin Stetson for quite a few years. He’s played with everyone from Godspeed You! Black Emperor to Tom Waits to Bill Laswell and a gaggle of other stellar artists. When I learned he had released an album of his interpretation of Górecki’s Symphony No. 3 I purchased it without question and Stetson did not fail to deliver. It’s actually quite faithful to the original, but with Stetson’s own unique take, of course.

We close today’s show with Kazuya Nagaya’s “Thanatos” from his Dream Interpretation album. I discovered Nagaya on the Bandcamp Daily blog and fell in love with his music and this track in particular. When I released last week’s show I sent the episode to my mom knowing that she’d enjoy it. She did, mostly. She found the mix beautiful but Nine Inch Nails “The Cursed Clock” was a bit too solemn for her. I get it, especially during these days of COVID-19. I don’t think today’s show will agree with her but if you are listening, mom, I think you will find solace in Nagaya’s “Thanatos.”

If you enjoy SOUNDWAVE, please share it with someone you think will also appreciate it.

See you next week for more lustrous music.

Richard Moult “Celestial King for a Year (Pt. 2)”
Jan Garbarek, The Hilliard Ensemble “Regnantem sempiterna”
MMMD “Hagazussa”
Colin Stetson “Sorrow: II – Lento Largo—Tranquillissimo”
Kazuya Nagaya “Thanatos”

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SOUNDWAVE : 1 : JOSEPH ALEO

Today’s first edition of SOUNDWAVE comes courtesy of COVID-19.

Like most people, I’m staying at home and social distancing. I’m fortunate enough to work from home but left to my own devices in the evenings. Television fails to capture my interest, so I’m unable to Netflix and chill. I’ve only just found myself able to enjoy books again. Barely. But I have had the itch to deejay, hence today’s show.

So let me tell you what you can expect to hear on this mix.

We begin with “I” from Rocks & Waves Song Circle, which I discovered on one of the many music blogs I follow. It’s a blend of languid surf guitar accompanied by a Mexican choir and a Haitian solist. It’s precisely the kind of music to find solace.

“Bonny Boy” comes from the Arcadia soundtrack from Adrian Utley and Will Gregory. Adrian is a member of Portishead, and Willis a member of Goldfrapp. While that’s reason enough to listen to Arcadia, the real reason I got excited about this soundtrack was the stunning vocals of Anne Briggs. Who was this young, upcoming talent I had never heard of? A quick search on Wikipedia revealed the Anne is an English singer from the 1960s. How have I not known about her?

Writer Warren Ellis turned me on to to Mending, which is a project from Kate Adams and Joshua Dumas called We Gathered at Wakerobin Hollow, a four hour, forty song cycle, released in nine Chapters every two months from 2018-2019. That’s a lot of music, and “Julia Writes to Marsha” is my favorite track from that work.

“It’s a Rainy Day On The Cosmic Shore” is by ana Roxanne and I found her through a review of her on Bandcamp. This track comes from her album, ~~~. I don’t know how you would pronounce that. Tilda, Tilda, Tilda, maybe? No matter, I love this song and the feelings it evokes.

We wrap up today’s show with “The Cursed Clock,” which comes from Nine Inch Nails latest album, Ghosts VI: Locusts, and the cursed clock is how I feel about my COVID-19 days. Kind of a bummer way to end this, I know.

I hope today’s show provided you with some beauty and a welcome distraction. See you next month.

Rocks & Waves Song Circle “I”
Adrian Utley & Will Gregory “Bonny Boy (Anne Briggs)”
Mending “Julia Writes to Marsha”
ana roxanne “It’s a Rainy Day On The Cosmic Shore”
Nine Inch Nails “The Cursed Clock”

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